“Gomorrah": Built on Fire and Brimstone

Built on fire and brimstone

Gangster films have always operated on but rarely explored the paradox of mob life. Gangs are created in order to rebel from society and its institutions, yet they themselves act like micro-governments. Most films have illustrated these institutions through the depictions of their protagonists, like “Goodfellas” Henry Hill. Gomorrah, however, exists in this paradox; its multiple story lines act as a medium for depicting the structure of the mob in a different way. Gomorrah, unlike most gangster films, explores the hierarchy of the mob. How the establishment itself rather than the rebellion towards the establishment makes the gears of the mob keep turning.

Structure is part of everything, movies, books, and essays. It is so integrated into ones life; it is such a basic concept, that it is hardly ever investigated. Garonne explores this structure in a very unique way. Unlike the movie Il Divo, Gomorrah doesn’t only focus on the structure of a hierarchy. Garonne chooses to probe the structure of the mob, revealing the intricate connections that keep it from falling apart. After all, even though the skeleton is the basis for the human body it is the fibers and the muscles that hold it together.

Matteo Garrone chooses to divide Gomorrah into several story lines, covering all aspects of gangster life, characterizing the mob hierarchy rather than just a single person. The film begins with a scene that has nothing to do with any of the story lines; a montage of killing, it’s the directors way of introducing the mob to the audience. The mobsters in this introduction have no depth and never reappear on the screen. Unlike in Scorsese’s “Goodfellas” Garonne is more interested in the structure of a gang

“Good...

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...s the audience more about Roberto than Roberto’s actions do. We can tell that from his grandfather that Roberto isn’t meant for this kind of work, and this characterization is reinforced when he quits his job after throwing away peaches (symbols of innocence). Garonne, through this unusual characterization, shows the audience that Roberto doesn’t fit into the mob life.

Garonne also ties in the plot to Toto, a young teenager who, like Henry Hill, is drawn to the mob. Toto is shown betraying his best friends mother, ending in her death soon after he is initiated as a gang member. Toto is also shown working for this businessman, driving the cars in preparation to fill up a huge quarry with nuclear waste. In one small scene Garonne connects this extremely wealthy businessman to a newly initiated young teenager, showing the audience how everything is so inter-connected.